URGE OVERKILL – GIRL,
YOU’LL BE A WOMAN SOON (MCA)
Urge Overkill from Chicago was always one of those bands that you had
heard of but hadn’t actually heard. With
three albums out on Touch And Go
they came through during the grunge era as part of that host of US indie rock
alternative bands that had a vague connection to Sub Pop.
This was a band that dressed up, sang punk soul not grunge. Surely that meant they weren’t much different
to the Afghan Whigs.
By this stage the band
was signed to Geffen
and thus connected. The Urge Overkill
version of the Neil Diamond had previously
been the lead track on a six song EP on Touch And Go called Stull. Somebody somewhere was listening.
Apparently Quentin Tarantino
originally happened across the EP in a record shop in Holland . The
selection goes slightly against the grain as most of his music
choices/selections have tended to be retro and original in form. The track does however have the kind of funk,
soul and groove that taps into his tastes and thus he selected it for inclusion
in his second movie Pulp
Fiction. The significance of the
find also suggests this was the visit to Holland where/when he came up with his famous Royale
With Cheese speech/exchange between Vincent and Jules in the movie. That said with Uma Thurman spread on the
cover of the single perhaps it might have been more appropriate for Tarantino
to throw an alternative rock bone to J Mascis.
“Girl, You’ll Be A
Woman Soon” is a mucky song when you delve into it. It’s the end of innocence attached to
music. Indeed read another away it could
be construed as the corruption of innocence.
You can see why an act would wish to cover it as the sweeping gestures
are stark and testing coupled with an overriding down tone that eventually
builds into a huge declaration which enables the vocal range of the singer to
soar. If nothing else, its exercise.
Accompanying the main
track is “Dropout”, a song lifted from their Saturation
LP. In contrast to the lead track (the
cover version) this is an almost dance number offered by the act in almost an
effort to reveal the real sound of the band.
It’s a track with bounce but only limited charm. Rather than housing passion, it plods. No dice.
The CD single closes
with “Bustin’ Surfboards” by The Tornadoes, one of those surf instrumentals
that appears in the movie and on the soundtrack. In a collection where such songs weren’t
necessarily distinguishable this is the one with the sound of waves crashing
against the shore. It’s a kind drive and
it got them some scratch.
False pretence.
Thesaurus moment:
propinquity.
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